CHAPTER XIV.

[1]See Mariette's Monuments of Upper Egypt.[2]Ancient Egypt, 274.[3]Edward Wilson, Scribner, Oct. '88.

[1]See Mariette's Monuments of Upper Egypt.

[2]Ancient Egypt, 274.

[3]Edward Wilson, Scribner, Oct. '88.

During the Old Empire certain rules regulating drawing were invented which were adhered to throughout the history of Egypt. The stiff, unnatural appearance of all Egyptian figures was due to strict observance of these rules, which became binding upon artists and prevented any perfection of art in the valley of the Nile.

Egyptian painting consisted of mere outline sketching. The human body was first entirely drawn; then clothing was added. The artists knew no more of anatomy than did the physicians. They did not even follow each his own ideas, but there wasoneestablished way of drawing the head, the arms, the limbs, and all felt obliged to hold to this conventional method. The extended arms show no elbows, the fingers no joints. An endeavor to draw the body in profile resulted in portions of it facing the spectator, other parts in profile, and still other sharing the characteristics of both positions. For many years the human figure, animals and birds could only extend the foot or arm—in case of a person—farthest away from the spectator, and each figure must be shown with the right side to the front. In course of time artists drew people of the lower classes with more freedom, but it would have been deemed disrespectful to have portrayed those of high rank in any but the conventional positions. Thus, in a picture of a noble being served by a slave, the latter might be drawn in a natural pose, while the noble still retained the stiff, grotesque position of early times. Again, the king was given colossal proportions, to indicate his power and strength, while children may be distinguished only by their tiny forms.

Side by side with this conventional school of art there developed a realistic school that exercised greater freedom with the human body. Tomb pictures remain wherein persons are shown with their backs to the spectator, and in many positions not permissible according to established rules. However,these paintings are invariably in the tombs of the lower classes. It would not have been deemed fitting that such freedom be used in decorating the tombs of nobles, or of persons of high social standing. Artists of this school seem to have been in disfavor in ancient Egypt. To be sure, in the matter of portraying scenes where captives, slaves or the humble people were gathered, artists of the conventional school drew these with considerable degree of freedom and ease. In the same picture the king, or noble, or high official was represented according to the established custom.

All Egyptian drawing of human figures, birds and animals is plain, and it is possible for any one today to read the stories of long series of tomb pictures—studying them out, one by one. However, when it came to representing a temple, a house, or a garden, the desire to show every portion of it resulted in some confusion. The artist was in doubt as to how to portray it all. "In treating such an important and complex object he wished if possible to show every part of it; he therefore did not draw the house from the front nor from the side, but made a picture of both sides together, and when the house had an upper story with three chambers, he put these three rooms close by also. He considered his duty accomplished when he had placed all the details before the spectator, but he did not care whether the spectator understood how these details fitted together.

"We have to face another difficulty in order to comprehend these pictures; the Egyptian artist has no sense of proportion between the different parts of the representation. If, for instance, the king is standing in one of the rooms of the building in question, our artist would, regardless of truth, draw that room ten times as large as all the others together, and even in one picture he frequently changes his standard of measurement."[1]

All pictures were painted, some only in outline, some entirely. The interiors of tombs were made to assume a gay appearance since tomb colors were always bright. Red, the color of the sun, and blue, the sky reflected in the Nile, were thought to be sacred.

Sculpture served two needs: it furnished statues of thedead for relatives to worship, and statues of the kings and gods, with the animals sacred to each, for the ornamentation of the temples. Thus the scope of the sculptor was limited in the beginning. Furthermore, the proportion, form, color and expression of every statue was fixed by laws prescribed by the priests. The aim of the artist was in every case to show absolute repose.

When we realize that many of the surviving monuments were chiseled from granite as hard as iron, upon which the artist could work with only a small metal chisel, we view them as monuments of the artist's untiring patience, as well as of kingly greatness and statues of the gods. These artists also knew how to make good use of poor material. In soft limestone their task was easier; scenes were frequently cut in this, covered with stucco and then painted. Inexpensive statues were often made in this way.

Art seems at first to have taken rapid strides in Egypt, but after reaching a certain point, it was prevented by established laws, enforced by the priesthood, from going farther. So it deteriorated. Unfortunately we know little of the artists who wrought these works and nothing of the training they received.

Decorative art, as developed by the dwellers on the Nile, has perhaps greater interest for the modern artist than their paintings or statuary. The modern conventional school of decorative art finds much to copy and adapt from patterns which survive in Egypt. In the first place, the hieroglyphics were in themselves decorative. They were often used as friezes, and never do we find them cut across figures, as was the case in Assyria. Among designs commonly called geometrical, but in the beginning the representation of something familiar, the zigzag line was popular. A double zigzag formed little squares, and by various arrangements, many combinations were possible. The scroll was also a favorite decoration. There was an old legend to the effect that the spiral represented the wanderings of the soul, but just what connection existed between the two—if indeed there had ever been one—was lost in distant ages.

Coils, hooks, links and endless scrolls were used, and the fret patterns were but modifications of the spiral. Thecheckered design was originally worked out by the shepherds and herdsmen who wove baskets and mats of rushes. The source of one of the earliest imitations was the feather, with its variety of forms. Only a few flowers were copied. The lotus, papyrus, daisy, convolvulus, vine and palm were the only ones used to any great extent. By far the most popular of these was the lotus. This water lily has been worshipped in many countries. The Egyptians did not regard it as a national flower—by no means. It was considered the emblem of immortality.

"The lotus is the symbol of 'life,' ... of resurrection. Bouquets of it were presented to guests at funerals. It was sometimes called the symbol of the Sun. 'The solar significance of the lotus is elementary and most important. A text reads: The Sun, which was from the beginning, rises like a hawk from the midst of its lotus bed. When the doors of its leaves open in sapphire-colored brilliancy, it has divided the night from the day.'

"A confessional chapter of the Book of the Dead closes with the words: I am a pure lotus, issue of the field of the Sun.... The Egyptian idea of the resurrection and of a future life was connected with a worship of the creative and reproductive forces of nature, which were conceived and worshipped as solar in character and origin. It is the supposed passage of the sun at night through a lower world, during its return to the dawn of a following day which makes Osiris—the Sun at night—the God of the lower world and of the dead, hence himself represented as a mummy. As the God of the resurrection, his special and emphatic character, he represents the creative energy of the Sun-god. Hence, the lotus as attribute of Osiris is at once a symbol of the sun, of the resurrection, and of creative forces and power. Since the doctrine of a future life and a belief in a spirit world were ever present to the Egyptian mind, we cannot too strongly insist on the funeral symbolism of the lotus."[2]

This brief explanation of the lotus' significance given by one who has made a detailed study of this particular Egyptian symbol, helps us to understand its universal use. It was pictured with the gods, given as offerings to them, employed ascapitals for columns, and had many significant uses. It has been suggested that the bright yellow ovary stigmas of this water-lily, with its rayed appearance, might have been thought a symbol of the sun. As time went on, the flower developed into a monstrosity, and became so conventionalized that it has been difficult in many cases to determine what the artist intended to represent.

The grape vine, with its fruit, was a popular decoration. Ceilings were often painted golden yellow, with vine leaves and bunches of grapes hanging down. In glazed work grapes, convolvulus and thistle were used. Golden stars on a blue-black background found favor as a ceiling decoration.

In prehistoric times, ideas of ornamentation were often gained in curious ways. Jars of pottery were sometimes tied with a string to support them while drying. The string naturally left an impression in the clay. This suggested the notion of twisting the string and so obtaining not only an impression but a pattern. From this very illustration we may realize how completely many origins of decoration have been lost in obscurity.

CEILING DECORATION.CEILING DECORATION.

[1]Erman: Life in Ancient Egypt, 174.[2]Goodyear: Grammar of the Lotus.

[1]Erman: Life in Ancient Egypt, 174.

[2]Goodyear: Grammar of the Lotus.

We have seen in a former chapter that the Egyptians believed one to be composed of three parts: his earthly body, his soul, or ba, and his ka, the ghostlike phantom that grew up with him in life and after death experienced the same needs that he had known while living. All three parts were essential to the existence of any one of them. On this account the Egyptians made every effort to perpetuate the body and to provide necessities for the ka, lest the soul should wither up and be no more. Granting the truth of these beliefs, all that the Nile dwellers did in consequence of a faith in them was logical and natural.

When an Egyptian was ill, a physician and one skilled in magic were summoned. They did what they could to restore him. When their efforts failed, they usually discovered that from his birth it had been decreed that he would meet with an early death, and in this ingenious way they maintained their influence unimpaired.

Upon the death of a relative, all the women of the house rushed into the street with disheveled hair, shouting loud lamentations. In this way their loss was made public. Then they returned and the body was sent to the embalmer.

Three methods of embalming were commonly employed. The most costly method involved seventy days and absorbed perhaps the total income of the year, unless the family was wealthy. The second was less costly and required less time; finally there was a comparatively inexpensive method which had to satisfy the poor.

The vital organs and those parts of the body hardest to preserve were removed. This was strictly necessary according to later Egyptian ideas, yet so dreadful did they regard any mutilation of the body that the men who performed this task were intensely hated and considered as unclean. They were not allowed to mingle with other classes, nor could onerise out of his class. When they had done their work, they were stoned away from the house.

The body was now put into a bath of chemicals to remain for many days. When at last it was taken out, it was filled with linen and sweet smelling powders and made to look as lifelike as possible. Then it was wrapped in linen bands, the quality of the linen used depending upon the purse of the family.

"Each separate limb of the deceased was dedicated to a particular divinity by the aid of holy oils, charms and sentences; a specially prepared cloth was wrapped round each muscle, every drug and bandage owed its origin to some divinity, and the confusion of sounds, of disguised figures, and of various perfumes, had a stupefying effect on those who visited this chamber. It need not be said that the whole embalming establishment and its neighborhood was enveloped in a cloud of powerful resinous fumes, of sweet attar, of lasting musk, and of pungent spices."

Prayers and magical charms were said, scarabs and amulets enclosed, and finally the body was placed in a coffin so constructed that it would stand upright, as though the person were standing erect. It was then taken home, and lamentations were made for some days. These finally gave way to festivals. Banquets were held in honor of the mummy, which was placed near the table and offered portions of food. Sometimes mummies were kept in the home for a long time, and were worshipped with the household gods. When at length the day for burial came, the family and friends accompanied the body across the Nile to the Necropolis. They took offerings with them,—food, furniture, toilet articles, and some literature—certainly some pages from the Book of the Dead. All the way across the river, the women wept. That the exhibition of grief might be sufficient, wailing women were hired to increase the lamentations.

Seeing the sun which they worshipped disappear each night in the west, the Egyptians grew to think that it went to a mysterious country, the land of Osiris. In course of time they located the land of the Blest in the west, and where-ever possible, placed their tombs facing the west—the direction which the departed took for his long journey. Allthrough the river ride the women cried: "To the West; to the West!"

Upon reaching the place of burial, the priest performed certain ceremonies. Then the mummy in its coffin, and the jars containing the vital organs, were sealed up in the chamber prepared to receive them.

There were always three essential parts to an Egyptian tomb: the chapel, or room used by the relatives to worship the deceased and bring him offerings; the sepulchral chamber which contained the mummy; and the serdab, or secret cell, where images of the deceased were sealed up for the ka to look upon, since the features of the earthly body were now changed by death. This secret chamber was connected by a small aperture with the chapel, in order that the smoke of burning incense and proffered prayers might be the more easily experienced by the Ka. On the west wall of the tomb was the stela, or a false door, upon which was engraved the name of the deceased, his parentage, titles, and a record of the offerings made to his ka. In early times offerings alone were made with no record of them, but as the people grew more enlightened, they realized that a time must come when even the best known would be forgotten and neglected. Therefore they conceived the notion of enumerating the articles of food contributed, believing that the ka would look upon the record and be satiated through the ages.

Compared to the earthly abode, which was temporary, the tomb was eternal; hence the care that was lavished upon the tomb by the Egyptians. While yet young, a man began to build his final resting place. If he died before it was completed, some relative supervised its completion, but in most cases tombs left thus unfinished show signs of hasty conclusion. The survivor was chiefly interested in his own tomb, and could give but passing attention to that of the departed.

In the Old Empire, tombs were constructed of brick masonry. The mummy was placed some distance below the brick work which was elevated a few feet above the ground. During the Middle Empire, grotto tombs came into favor. These were hewed out of the living rock. A large excavation was made and chambers were sometimes formed by masonry, sometimes hollowed from the rock itself. It wasduring this period that pictures of food offerings were made in addition to the food formerly offered alone. During the New Empire tombs were generally cut in rocks, and now it became customary to have the heart removed from the deceased and placed in a jar. The idea of reward and punishment was emphasized. "From the calm assurance of purely material happiness which the earliest Egyptian loved to dwell on, there developed a keener sense of the trials through which the soul must pass, together with a higher ideal of the future life, a strong conviction of the moral qualities and acts essential to the justification of the individual. Later this spiritual degenerated into a reliance upon ritual and formulas in a merely magical sense."[1]

The nature of the burial depended upon the means of the family. The middle class interment was less pretentious than that of the noble, and the poor appropriated some old, neglected tomb, or paid for space in a public tomb. Even in such cases, some offerings were made. The burial of royalty was splendid, as tombs recently discovered in the Valley of the Kings have attested. Furniture, receptacles, toilet articles—even a boat and a chariot were in some cases provided.

In the tombs of the wealthy were enclosed little images of servants, or "answerers." To the unimaginative Egyptian, the future world could only be a place, like his own Egypt, where he would sow and reap, under conditions most favorable. Water would be plentiful, and work would be so easy that it would be a joy to perform it. This satisfied the masses, who knew only how to reap and sow. But the wealthy had not been accustomed to cultivate the soil in this life and were not pleased with the prospect of doing so through countless ages. Lest such menial tasks be required of them in the realm of Osiris, they had with them these images of servants—these answerers—who might respond when they were called upon: "Here am I, thy servant." Thus the noble would have his work performed by others, as it had always been.

Amulets and scarabs were also deposited with the mummy. The amulets were charms supposed to bring good luck, and the scarabs had a deeper significance. The wordscarabmeansbeetle. A certain kind of beetle deposited its eggs in the sand. From the earth, in course of time, a fully developed beetle would come forth. The Egyptians, who knew nothing of insect life, believed the beetle, long since dead, had the power of restoring itself to life anew. Hence the scarab was an emblem of the resurrection and immortality. Just as the cross is a symbol dear to the hearts of Christians, so, to the followers of the Egyptian religion, the scarab was significant. It was made of various kinds of stone, variously colored, and was worn by the Egyptian during life, and buried with him at death. During periods when religious revivals were strong, large numbers of these emblems were produced; during ages when greater indifference to religious matters were shown, fewer seem to have been made. As little Greek vases have been found in all lands where Greek merchantmen went, so the Egyptian trade of antiquity can be traced by the little scarabs. Large collections of them have been made in recent years, and many are exhibited today in museums.

In the New Empire, when it became necessary to remove the heart of the deceased, a sacred scarab was substituted in its place. The idea prompting such action was that the heart was sinful, and if removed, might not be able to testify against its owner. The scarab, being a symbol of faith, might be of some assistance.

A copy of the Book of the Dead was supplied the deceased because it contained a list of the dangers his soul would have to meet in journeying to the abode of Osiris. The topography of the future world was included and all invocations to be uttered at different stages of the progress were given. Only with a perfect knowledge of all these things could the soul hope to reach the land of the blest. Advice was given him about meeting the forty-two judges of the western world, who judged him for forty-two sins. If his good deeds outweighed his shortcomings, he remained forever with Osiris; otherwise he was transformed into some unclean animal, and never knew the joys of eternal life.

It has been estimated that some 200,000,000 people died in Upper Egypt during its active history and found a resting place in the favorite strip of desert less than 450 miles in length. Of course only the most substantial of the tombsare preserved. The dryness of the country has helped to preserve ancient monuments.

It is small wonder that to the very poor, whose huts have always been in the Necropolis—the wealth concealed in tombs has always been a strong temptation. Records reach through the Middle and New Empires testifying that robbers pillaged tombs for jewelry and gold, and today the Arab traffics constantly in the spoils of the tombs—above which, in many cases, he lives.

THE FUNERAL PROCESSION: THE WEAPONS AND JEWELS.THE FUNERAL PROCESSION: THE WEAPONS AND JEWELS.

[1]Blimmer: Essays on History, Religion and Art of Ancient Egypt.

We have spoken frequently of recent discoveries in Egypt, and of objects found within old tombs. The question naturally arises: Who makes these discoveries, and under what circumstances are the secrets of the tombs revealed?

Modern excavations in Egypt are of recent date. In 1798 the military expedition of Napoleon Bonaparte drew attention to Egyptian monuments. One of his soldiers, excavating for some fortifications in the delta, discovered a stone covered with an inscription, and this was preserved. Being found near the mouth of the Rosetta river, it was called the Rosetta stone. The stone had been inscribed during the reign of Ptolemy III., a Greek king. Because some of his subjects in Egypt were Greeks and some Egyptians, he had caused the decree to be inscribed (1) in Greek, (2) in hieroglyphics, (3) in demotic. The Greek sentences were easily read, and since it seemed probable that the other writing simply repeated the decree, scholars set to work to decipher it. By 1832 they had prepared an Egyptian grammar and vocabulary.

The earliest attempt at systematic investigation was begun in 1822, when the government of Tuscany sent a number of scholars into Egypt to study inscriptions. Champollian and Rosellini were among them. In 1840 Germany sent out an expedition under the leadership of Lepsius. This party began work at Memphis, among the pyramids. In course of time the Tuscan expedition supplied volumes of copied inscriptions and explanatory material.

August Marietta went to Egypt in 1850 and was active there until 1880. He made the first great discovery when he came upon the burial place of the Apis bulls in Memphis. Sixty-four tombs were found, together with amulets and funeral ornaments. In 1857 he was made director of a new museum, which was founded at Cairo. He received the monopoly of the right to excavate in the vicinity of Thebes, and while he allowed others to study what was unearthed underhis direction, he would not permit them to do any excavating. Maspero succeeded him as curator of the Cairo Museum. Into this museum has been placed all the great finds of recent years and here one who would make detailed study of ancient Egypt must go.

As a result of his explorations in the valley of the Nile, and of his personal knowledge of all gifts made to the Cairo Museum, Maspero has prepared many books pertaining to the life of the ancient Egyptians. His conclusions are drawn entirely from the revelations of old monuments and remains, and are of first importance.

Means have been provided by the Egyptian Exploration Fund and by the Egyptian Research Account to make it possible for young students to undertake explorations in behalf of public museums. Nothing found by those thus engaged can be sold, whether publicly or privately, but must be presented to some museum where people generally can have an opportunity to see and examine such objects. Reports of all discoveries are published at the earliest possible moment. In marked contrast to such generous principles have been the undertakings carried on by many who have used recovered objects for their personal profit, or have withheld knowledge of them indefinitely.

W. M. Flinders Petrie, professor of Egyptology in University College, London, took charge of the expedition sent out by the Egypt Exploration Fund in 1884. Later he organized the Egyptian Research Account, in order to give young students an opportunity to do active work themselves. In late years Petrie has carried on his efforts alone. On the basis of his observations, discoveries and knowledge, he has prepared a history of Egypt, recently published. This is a chronological account of royal tombs unearthed by him, rather than a complete history of Egypt's development.

Gardner, Griffith and Naville have been sent out at different times by the Egypt Exploration Fund, and have each prepared reports of their finds.

The Tell el Amarna Letters should be mentioned with the great finds in Egypt. In 1887-8, Arabs, who were carrying off bricks for their houses, came upon a record chamber, containing many hundred letters inscribed on bricks. They wereshown to experts who did not appreciate their value. They were put in sacks and carried around, from one place to another, with the hope of making something from their sale. When many of them had been ground to powder and others were hopelessly ruined, they were bought up by museums at London, Berlin, St. Petersburg and Cairo. They have since been translated and it appears that they belonged to the record chamber of the capital built by Amenhotep IV., and called by him the Horizon of the Solar Disk. As now translated, they are found to be letters written during the peaceful reign of Amenhotep III. and early in the reign of Amenhotep IV.; others recount the North Syrian war, and certain others, the Palestine war. They reveal the condition of the empire during the reign of the fanatical king who attempted to bring about a religious revolution at home, while hostile tribes assailed his empire on the east. The Tell el Amarna letters have done much to clear up a portion of Egyptian history, previously not understood. Their revelations have been supplemented by two wonderful discoveries made within the last two years: the discovered tomb of the parents of Queen Tiy—mother of Amenhotep IV., in 1905, and early in 1907, the tomb of Queen Tiy herself. These finds are so remarkable that we may well give them brief consideration.

In recent years, Theodore M. Davis has undertaken systematic excavations in the Valley of the Kings—the great Necropolis west of Thebes—for the benefit of the Cairo Museum. This work has been directed by Archaeologist Quibell, maintained by the present Egyptian government.

Quoting from one who was present at the exciting moment when the tomb of Queen Tiy's parents was opened:

"Squeezing their way between the wall and rock ceiling, M. Maspero and Mr. Davis were soon in the midst of such a medley of tomb furniture that, in the glare of their lighted candles, the first effect was one of bewilderment. Gradually, however, one object after another detached itself from the shimmering mass, shining through the cool air, dust-free and golden. Against the wall to the left stood a chair, and beyond it a gilded coffin-cover lay upside down. In it was a conventional mask that gleamed golden through dark veiling; and the mummy whose head this mask had covered layfarther off, its body partly incased in gilded openwork. Against the wall to the right leaned two 'Osiris beds,' flat surfaces on which seed had been sown, which in sprouting, had outlined the figure of the god. Not far off, along the wall opposite the door, stood a row of sentry-boxes, each containing a statuette. In front of these rose the outermost case for a mummy. To the left stood a bed. Nearer again lay a silvered mummy case; and on this, and on a mummy beyond it, the second in the tomb, a shaft of cold blue light struck down from the outer day.

"By day-light then, mingled with the light of flickering candle flames, the discoverers examined the second mummy. By candle light alone they searched the first. Both had been plundered by the thief of long ago. Throwing the mummy cases hither and yon, he had taken from both mummies everything of intrinsic value except a plate of gold closing the aperture through which the heart of one had been removed by the embalmers. Not a jewel, and only part of one necklace, remained of all those with which the dead must once have been bedecked. But if such trophies were lacking, others of surpassing splendor and significance still packed the tomb-chamber, from wall to wall. In the bottom of a mummy-case, from which the thief had removed the cover, he had left a cushion and a graceful alabaster vase. In another mummy-case he had neglected an alabaster jar and the cover of an embroidery-box which he must have carried across the chamber to a second bed, on which it now lay beside a superb gilded chair. Near by, where the floor suddenly fell one deep step to a lower level, he had thrown, among a multitude of sealed jars, half of the gilded openwork casing which had encircled one of the mummies. Near these jars again he had propped a coffin-cover against one corner of the tomb. Here, too, he had left a third bed and one of the most important finds in the tomb, a chariot, the curving front and wheel-rims of which shone through the darkness golden and scarlet.

"Except for its broken pole and the partly bare spokes of its gilded wheels, this chariot was in perfect condition; with the yoke already found in the corridor and a whip soon to be discovered, it lacked nothing to be complete.

"Maspero studied the hieroglyphics on their gleamingmummy-cases. 'Tioua,' he read after a time; and after further study he went on, 'Ioua, hereditary prince, chief friend among the friends of the sovereign.' There were the names of the dead in the tomb; and these dead, as Maspero therefore knew, had been the parents of Tiy, a queen of the eighteenth dynasty, whose changing of the national religion had once caused such uproar and violence that the burial of her parents in the sacred Valley of the Kings would have had to be hasty and secret.

Beautiful Island of Philae and the Nile.Beautiful Island of Philae and the Nile.

"The probable history of the tomb, accordingly, was clear. During a period of unrest Queen Tiy, who wished a royal burial for her father and mother, either chose an old tomb on which the work had been abandoned or stopped work on one which was being hewn out. In it she had placed the mummies, with their funeral offerings, till the tomb could be reopened and finished, or its contents transferred to a fitter resting place. Quiet times had perhaps never returned during her reign; and however that may be, the tomb had been reopened, not by Queen Tiy, but first by a robber, and now at last, by modern archaeologists."[1]

Even more gratifying than the discovery just recounted was the finding of Queen Tiy herself. Again we can get into the spirit of the discovery best by reading the description of an eye-witness:

"The excitement of entering a newly opened tomb is naturally considerable; but when the first inscriptions to be seen revealed the fact that the tomb of Queen Tiy, which had been so long sought for, had been found, a glamour was added to the moment which will not easily be forgotten by any of the party. Inside the tomb chamber the gold covered coffin and outer coffin, gleaming in the light of the electric lamps, formed a sight of surprising richness.... The mummy of the queen protruded from beneath the lip of the beautiful coffin, which was made in human form. A vulture-headed diadem of gold could just be seen passing around her head, and one could see here and there the shining sheets of gold in which the body was wrapped. There must have been thousands of dollars worth of gold-foil and leaf in the chamber, and the post-Akhnaton officials seem to have carried awaymany of the portable gold ornaments, probably amounting to many times that value. In a recess cut in the wall of the chamber stood four fine canopic vases of alabastrum, containing the queen's heart and intestines; and in one corner of the room there were several charming little pots and toilet utensils of blue glazed ware. One of these, in the form of a graceful girl carrying a pot upon her shoulder, is perhaps the most perfect specimen of miniature figure-molding known in Egypt....

"After the tomb had been opened for a few hours, the air, of course, became very much better, but its bad effects on the antiquities was at once discernible. Even before the first quick record had been finished, some of the scenes on the gold showed signs of dropping to pieces....

"It is to be hoped that most of the antiquities will be able to travel to Cairo, though their fragile condition makes it difficult to deal with them. Probably much of the rotten wood work, and even some of the fine reliefs on the gold-leaf, will have to be left in the tomb, which will be closed with Portland cement."[2]

Greatest care has to be exercised to protect finds from the Arabs. In spite of the vigilance of the government, pilfering of the old Necropolis is constantly carried on. Every fragment or curio which might bring profit is snatched up by those in the employ of speculators.

Petrie has given in detail many of the difficulties which have confronted him in his excavations among ancient Egyptian tombs. On one occasion, in preference to living in an Arabian village, he hunted out an old tomb, occupied the three chambers above, where the deceased had been fed and worshipped, and with his guide as a guard in an adjoining tomb, found the place secure and comfortable.

A little account of his experience in the summer of 1888, while excavating in the Fayoum, will give us some notion of the perplexities that often beset the archaeologist. Whenever possible, quotation is made from Petrie's own report. The district he selected—the Fayoum—calls to mind Amenemhet III., who first irrigated the region and thus added materially to the arable land of his country. To this particular section Petrie was drawn, because, as he explains: "The exploration of the pyramids of this district was my main object, as their arrangement, their dates, and their builders were yet unknown."[3]

"So soon as we began to turn over the soil we found chips of sandstone colossi; the second day the gigantic nose of a colossus was found, as broad as a man's body; then pieces of carved thrones, and a fragment of inscription of Amenemhet III. It was evident that the two piles of stone had been the pedestals of colossal seated monolithic statues, carved in hard quartzite sandstone, and brilliantly polished. These statues faced northward, and around each was a courtyard wall with sloping outer face and red granite gateway in the north front The total height of the colossi was about 60 feet from the ground. The description of Herodotus, therefore, is accounted for; and it shows that he actually saw the figures, though from a distance, as any person who visited them closely would not have described them in such a manner."[4]

Petrie took his corps of native workmen next to Hawara, for the pyramids there had not been opened in modern times. Finding no trace of an entrance, they tunneled for many weeks in the solid tomb. Finally a small opening was effected into the old chamber of the tomb, and there, by the flickering light of a candle, could be seen two empty sarcophagi. A modern canal has saturated this part of the land and the explorer was obliged to wade through mud to the tombs.

Quoting from his description of what was found: "The pyramid had been elaborately arranged so as to deceive and weary the spoilers, and it had apparently occupied a great amount of labor to force an entrance." After explaining a dozen ways they had tried and failed, he says: "At last the way had been forced by breaking away a hole in the edge of the glassy-hard sandstone roofing block, and thus reaching the chamber and its sarcophagi. By a little widening of the spoilers' hole I succeeded in getting through it into the chamber. The water was up to the middle of my body, and sothe exploration was difficult; but the floor was covered with rubbish and chips, which might contain parts of the funeral vessels, and therefore needed searching. The first day I got the coveted prize, a piece of alabaster vessel with the name of Amenemhet III., proving finally to whom the pyramid belonged. Still there was a puzzle as to the second sarcophagus, which had been built up between the great central one and the chamber side. On clearing in the chamber which led to the sepulchre, however, a beautiful altar of offerings in alabaster was found, covered with figures of the offerings all named, over a hundred, and dedicated to the king's daughter, Neferuptah.... The chamber itself is a marvellous work; nearly the whole height of it is carved out of a single block of hard quartzite sandstone, forming a huge tank in which the sarcophagus was placed. No trace of inscription exists on either the walls or the sarcophagi; and but for the funeral furniture, even the very name would not have been recovered."[5]

Next they located what had in all probability been the old Labyrinth. No trace of the building itself could be discovered, but the vast extent showed it to have been larger than any temple known in Egypt. Pliny, a Roman historian, has told us that for centuries this Labyrinth served as a quarry for this section of the country, and that a small town of quarrymen lived near by.

In the cemetery of Hawara, Petrie made some explorations. He succeeded in finding one tomb, which had been missed by the spoilers—this naturally was the coveted find. It belonged to the twenty-sixth dynasty, a period of the decline of Egyptian power. It was the tomb of a great noble, Horuta. Standing deep under water, it was more difficult to manage than usual.

"But the sarcophagus itself was most difficult to open. The lid block was nearly two feet thick, and almost under water. It was too heavy for us to move entire, so some weeks were spent in cutting it in two. One piece was then raised, but it proved to be the foot end; and though I spent a day struggling with the inner coffins, sitting in the sarcophagus up to my nose in water, I yet could not draw them out from under the rest of the stone lid. So after some days the menraised that, enough to get one's head in between the under side of it and the water; and then I spent another gruesome day, sitting astride of the inner coffin, unable to turn my head under the lid without tasting the bitter brine in which I sat." At last the coffin was recovered. "Anxiously opening it, we found a slight inner coffin, and then the body of Horuta himself, wrapped in a network of beads of lazuli, beryl, and silver, this last decomposed.... Then came the last and longed-for scene, for which our months of toil had whetted our appetites—the unwrapping of Horuta. Bit by bit the layers of pitch and cloth were loosened, and row after row of magnificent amulets were disclosed, just as they were laid on in the distant past. The gold ring on the finger which bore his name and titles, the exquisitely inlaid gold birds, the chased gold figures, the lazuli statuettes delicately wrought, the polished lazuli and beryl and carnelian amulets finally engraved, all the wealth of talismanic armory, rewarded our eyes with a sight which has never been surpassed to archaeological gaze. No such complete and rich a series of amulets has been seen intact before; and as one by one they were removed all their positions were recorded, and they may now be seen lying in their original order in the Ghizeh Museum."[6]

We have noted repeatedly the various articles found within the tombs, such as funeral furniture, vases, food, and amulets. Some rather unusual disclosures were brought to light in this old cemetery in the Fayoum. Children's toys, and their personal belongings were found entombed with their mummies. One tomb of a much later date than yet mentioned—of Roman Egypt indeed—contained one of the books of the Iliad. More valuable than any of these were wreaths of flowers with which the dead had been adorned. These were perfectly dried and from them and accounts given us by Pliny, the ancient flora of Egypt has been worked out by the patience and painstaking of noted botanists.

[1]Century, Nov., '05.[2]Century, Sept., '07.[3]Petrie: Ten Years' Digging in Egypt, 81.[4]Ibid. 82.[5]Petrie: Ten Years' Digging in Egypt, 86.[6]Petrie: Ten Years' Digging in Egypt, 93, ff.

[1]Century, Nov., '05.

[2]Century, Sept., '07.

[3]Petrie: Ten Years' Digging in Egypt, 81.

[4]Ibid. 82.

[5]Petrie: Ten Years' Digging in Egypt, 86.

[6]Petrie: Ten Years' Digging in Egypt, 93, ff.

The Nile had overflowed its bed. The luxuriant corn fields and blooming gardens on its shores were lost beneath a boundless waste of waters; and only the gigantic temples and palaces of its cities (protected from the force of the water by dikes), and the tops of the tall palm-trees and acacias could be seen above its surface. The branches of the sycamores and plane-trees drooped and floated on the waves, but the boughs of the tall silver poplars strained upward, as if anxious to avoid the watery world beneath. The full moon had risen; her soft light fell on the Libyan range of mountains vanishing on the western horizon, and in the north the shimmer of the Mediterranean could faintly be discerned. Blue and white lotus flowers floated on the clear water, bats of all kinds darted softly through the still air, heavy with the scent of acacia-blossom and jasmine; the wild pigeons and other birds were at roost in the tops of the trees, while the pelicans, storks and cranes squatted in groups on the shore under the shelter of the papyrus reeds, and Nile-beans. The pelicans and storks remained motionless, their long bills hidden beneath their wings, but the cranes were startled by the mere beat of an oar, stretching their necks, and peering anxiously into distance, if they heard but the song of the boatmen. The air was perfectly motionless, and the unbroken reflection of the moon, lying like a silver shield on the surface of the water, proved that, wildly as the Nile leaps over cataracts, and rushes past the gigantic temples of Upper Egypt, yet on approaching the sea by different arms, he can abandon his impetuous course, and flow along in sober tranquility.

On this moonlight night in the year 528B.C.a bark was crossing the almost currentless canopic mouth of the Nile. On the raised deck at the stern of this boat an Egyptian was sitting to guide the long pole-rudder, and the half naked boatmen within were singing as they rowed....

As Phanes uttered these words they landed at the garden wall, washed by the Nile.... The garden of Rhodopis was as full of sound, and scent and blossom as a night in fairy land. It was one labyrinth of acanthus shrubs, yellow mimosa, the snowy gueldres rose, jasmine and lilac, red roses and laburnums, overshadowed by tall palm-trees, acacias and balsam-trees. Large bats hovered softly on their delicate wings over the whole, and sounds of mirth and song echoed from the river.

This garden had been laid out by an Egyptian, and the builders of the Pyramids had already been celebrated for ages for their skill in horticulture. They well understood how to mark out neat flower-beds, plant groups of trees and shrubs in regular order, water the whole by aqueducts and fountains, arrange arbors and summer-houses, and even inclose the walks with artistically clipped hedges and breed gold-fish in stone basins....

At noon on the following day the same boat, which, the evening before, had carried the Athenian and the Spartan, stopped once more before Rhodopis' garden. The sun was shining so brightly, so warmly and genially in the dark blue Egyptian sky, the air was so pure and light, the beetles were humming so merrily, the boatmen singing so lustily and happily, the shores of the Nile bloomed in such gay, variegated beauty, and were so thickly peopled, the palm-trees, sycamores, bananas and acacias were so luxuriant in foliage and blossom, and over the whole landscape the rarest and most glorious gifts seemed to have been poured out with such divine munificence that a passerby must have pronounced it the very home of joy and gladness, a place from which sadness and sorrow had been forever banished.

—An Egyptian Princess.

The feast of Neith, called in Egyptian "the lamp-burning," was celebrated by a universal illumination, which began at the rising of the moon. The shores of the Nile looked like two long lines of fire. Every temple, house, and hut was ornamented with lamps, according to the means of its possessors.The porches of the country houses and the little towers on the larger buildings were all lighted up by brilliant flames, burning in pans of pitch and sending up clouds of smoke, in which the flags and pennons waved gently backward and forward. The palm-trees and sycamores were silvered by the moonlight and threw strange fantastic reflections onto the red waters of the Nile—red from the fiery glow of the houses on their shores. But, strong and glowing as was the light of the illumination, its rays had not power to reach the middle of the giant river where the boat was making its course and the pleasure party felt as if they were sailing in dark night between two brilliant days. Now and then a brightly lighted boat would come swiftly across the river and seem as it neared the shore to be cutting its way through a glowing stream of molten iron.

Lotus-blossoms, white as snow, lay on the surface of the river, rising and falling with the waves and looking like eyes in the water. Not a sound could be heard from either shore. The echoes were carried away by the north wind and the measured stroke of the oars and the monotonous song of the rowers were the only sounds that broke the stillness of this strange night—a night robbed of its darkness....

The pyramids lay on the left bank of the Nile, in the silver moonshine, massive and awful, as if bruising the earth beneath them with their weight; the giant graves of mighty rulers. They seemed examples of man's creative power and at the same time warnings of the vanity and mutability of earthly greatness. For where was Chufu[1]now—the king who had cemented that mountain of stone with the sweat of his subjects? Where was the long-lived Chafra[2]who had despised the gods, and, defiant in the consciousness of his own strength, was said to have closed the gates of the temples in order to make himself and his name immortal by building a tomb of superhuman dimensions? Their empty sarcophagi are, perhaps, tokens that the judges of the dead found them unworthy of rest in the grave, unworthy of the resurrection, whereas, the builder of the third and most beautiful pyramid, Menkera,[3]who contented himself with a smaller monument, and reopened the gates of the temples, was allowed to rest in peace in his coffin of blue basalt.

There they lay in the quiet night, these mighty pyramids,shone on by the bright stars, guarded by the watchmen of the desert—the gigantic sphinx—and overlooking the barren rocks of the Libyan stony mountains. At their feet slept the mummies of their faithful subjects....

But their boat sped on before the north wind; they left the city of the dead behind them and passed the enormous dikes built to protect the city of Menes from the violence of the floods; the city of the Pharaohs came in sight, dazzlingly bright with the myriads of flames which had been kindled in honor of the goddess Neith, and when at last the gigantic temple of Ptah appeared, the most ancient building of the most ancient land, the spell broke, their tongues were loosed, and they burst out into loud exclamations of delight.

It was illuminated by thousands of lamps; a hundred fires burned on its pylons, its battlemented walls and roofs. Burning torches flared between the rows of sphinxes which connected the various gates with the main building, and the now empty house of the god Apis was so surrounded by colored fires that it gleamed like a white limestone rock in a tropical sunset. Pennons, flags and garlands waved above the brilliant picture; music and loud songs could be heard from below.

—Egyptian Princess.

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